XiangshengMen has always paid attention to the inheritance of masters and apprentices from generation to generation, and the apprentices walk the rivers and lakes after leaving the master, and earn food and food by their ability. After several years of polishing and training in the business field, it will also open the mountain door to receive apprentices. As the old saying goes, a master and apprentice are like father and son. Usually, masters and apprentices are often a generation apart in age. The master was also at least fifteen or sixteen years older than the apprentice. However, there are exceptions, the master became famous as a teenager, for example, when the "little mushroom" Chang Baokun received Su Wenmao, he was only twenty-one years old, and the age difference between the two grandfathers was only seven years. But the art of "little mushrooms" has indeed reached the level of apprenticeship, and Su Wenmao also admires the talent of the master, which has achieved a praiseworthy master-apprentice story.
Similar age is not impossible to establish a master-apprentice relationship, provided that the master's ability is not enough to accept the apprentice's qualifications. There is also a pair of masters and apprentices in the cross-talk circle, and the two of them are only seven years old, and the two masters and apprentices are Jiang Kun and Tang Aiguo.
Born in 1957, Tang Aiguo is a national first-class actor and vice chairman of the Shandong Qu Artists Association; Master Jiang Kun, born in 1950, is also a national first-class actor and the chairman of the China Qu Artists Association. The grades of the two masters and apprentices are all enviable, but when it comes to cross-talk performances, their resumes are lackluster. Mr. Jiang Kun has not been more than a table, since he served as the leader of Quyi, few good works have come out, and the Spring Festival Gala program cobbled together by network strips is difficult to call it cross-talk. And the only work that Tang Aiguo is remembered by the audience may only be "Lazy Man Sugar Gourd". Don't look at Tang Aiguo's only this masterpiece, but he is rarely criticized by peers and audiences, there is a reason for this...
Tang Aiguo served as a literary and artistic soldier in his early years, and he could write and perform in the army. Before worshiping the master, the cross-talk performance was considered to be crossing the river by feeling the stones, but it had its own style. After visiting the master, Jiang Kun's requirements for his apprentices were also to create new passages and perform themselves. In fact, Tang Aiguo really not only performs this good work, such as "Bet on Treasure", "Amusement Dream", "Persuasion wine" and other creative passages, whether from the theme of the idea, baggage design or personal performance are relatively mature. However, the popularity and influence of these works are far less brilliant than the paragraphs themselves. The main reason is the platform problem. Tang Aiguo was a native of Shandong, and after visiting his teacher, he did not stay in Beijing to develop like Jiang Kun's other apprentices, but chose to return to Jinan and continue to take root in the army. As a result, not only is the communication channel of cross-talk works limited, but even he himself rarely appears in front of the media camera.
Over the years, Tang Aiguo's cross-talk has also been more than fifty, but the audience's impression of him is "sugar gourd", and even many audiences who are not familiar with him do not know who Tang Aiguo is, but as soon as they see this person, they immediately blurt out, "This is not the 'sugar gourd'!" It can be seen that the influence of this cross-talk at that time was great. In fact, this work is really not written by himself, there are three creators of "Lazy Sugar Gourd", in addition to Tang Aiguo, there are his partner Qi Liqiang and Ma Zhicun's apprentice Wang Hong.
At that time, this work was premiered on CCTV's "Variety Show" in the form of "series of cross-talk", and the image of the lazy man created by Tang Aiguo left a deep impression on the audience. The work is grounded, derived from life, and at the same time does an artistic exaggeration. For example: (What is a special zone?) "What is better than the big song is the special song." Also fooled me. (What about the Angora breeding rabbits I gave you?) "I'm drunk." "You're funny, I don't even have time to raise a wife, do you still have time to raise rabbits?" These words Tang Aiguo said backwards in the Jinan dialect, and every sentence became a good burden. From the image, performance to expression, the line has reached a high degree of unity in art. Qi Liqiang, who was holding the praise, threaded the needle and lead in the whole work, paved the mat steadily, and Tang Aiguo's baggage was naturally unpretentious.
Although it is important to have a good work and a good performance, there is also a factor that cannot be ignored, that is, the platform for performance. In the many works created and performed by Tang Aiguo, there are not a few that can be equivalent to the level of "Lazy Sugar Gourd", but why are other works so little known? In the end, it is because this cross-talk was born on the stage of CCTV.
There is also an old saying in the cross-talk world: The master leads into the door, and the practice is in the individual. As a master, Jiang Kun's disciples were lined up with more than twenty disciples, and coupled with busy official duties, it was impossible to teach the disciples orally like the old man in the past. The disciples can only get ahead by their ability. Of course, among Jiang Kun's disciples, there were many who used Master Man'er to promote their own Man'er, but there were also minorities like Tang Aiguo. It is not difficult to understand why, when Jiang Kun and his apprentices were criticized, no one stood up to criticize this humble "sugar gourd".
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